The finished product. Here is the monument to the concepts in SketchUp, and here exported to a CryEngine environment.
Read on for textures, images, explanations and descriptions.
This experiment took as its directive the electroliquid aggregation of two concepts relating to the work of Frank Lloyd Wright and Aires Mateus architects. For a full description of that process, please read my previous posts. The original concepts that directed this work were 'Voids & negative spave articulate a sense of secrecy,' and 'Uniformity of simple spaces.' In aggregating these two concepts, I arrived at the concept that informed the final monument; 'Negative space articulates simplicity.'
When designing my texture tiles, I made the decision to approach each tile as a singular cell - part of a greater whole - rather than as a self-contained unit, as was my approach in Experiment 1. This texture palette presents 36 texture swatches composed of 36 repeated tiles, arranged in an approximate gradient from light to dark
A single sample of each tile demonstrates that although many of the textures achieved with the tile series that I developed for Experiment 2 are very smooth, the individual tiles are mostly highly fractured.
The consideration of each tile as part of a swatch as I initially arranged them was vital to my decision making when selecting which textures to apply to my monument.
Within the monument, the simplicity of the negative space becomes apparent, as the outer world is all but eclipsed
This experiment took as its directive the electroliquid aggregation of two concepts relating to the work of Frank Lloyd Wright and Aires Mateus architects. For a full description of that process, please read my previous posts. The original concepts that directed this work were 'Voids & negative spave articulate a sense of secrecy,' and 'Uniformity of simple spaces.' In aggregating these two concepts, I arrived at the concept that informed the final monument; 'Negative space articulates simplicity.'
When designing my texture tiles, I made the decision to approach each tile as a singular cell - part of a greater whole - rather than as a self-contained unit, as was my approach in Experiment 1. This texture palette presents 36 texture swatches composed of 36 repeated tiles, arranged in an approximate gradient from light to dark
A single sample of each tile demonstrates that although many of the textures achieved with the tile series that I developed for Experiment 2 are very smooth, the individual tiles are mostly highly fractured.
The consideration of each tile as part of a swatch as I initially arranged them was vital to my decision making when selecting which textures to apply to my monument.
The first negative space as you enter the monument. The simple rectangular subtraction accentuates the verticality held within the cubic mass
Within the monument, the simplicity of the negative space becomes apparent, as the outer world is all but eclipsed
The interior zenith. Isolation is achieved through separation. Simplicity is achieved through isolation.
No comments:
Post a Comment